Greetings again from the darkness. Andrew Haigh’s follow-up to his gut-wrenching 45 YEARS (2015) is “a boy and a horse” movie that is every bit as emotionally draining, and secures his spot as one of the best filmmakers at bringing characters we thoroughly believe to the screen. It’s based on the novel by Willy Vlautin and could be described as coming-of-age, slice-of-life, or even a road movie. While it’s each of these, it is also much more … though I fear it is one of this year’s indie gems that will likely slide between the cracks with far too few taking the time to experience it.

Charlie Plummer was most recently seen in ALL THE MONEY IN THE WORLD as Getty’s kidnapped grandson. Here he stars as Charley, a 15 year old boy living a half-step from poverty with his caring, but unprepared single dad (Travis Fimmel). Charley goes for morning runs around town, and his polite mannerisms include effusive praising and expressing gratitude to his dad’s mistress (Amy Seimitz) for cooking a full breakfast – a rare treat for this growing teenager. Charley stumbles into part time work with has-been horse trainer Del (Steve Buscemi), a man whose career, health and demeanor have all seen better days. Horse trainer in this context is far removed from the glamour of the Kentucky Derby. Del works his horses hard for meager winnings on the county fair circuit, and when their time is up, the horses are shipped to Mexico for ‘processing’.

Charley and Del form a bond based on Del’s cheapness and Charley’s work ethic and love of the horses. When tragedy strikes, the movie shifts to a road trip vibe, with Bonnie (Chloe Sevigny) joining on as a jockey. The three are a quasi-family but mostly they are each just trying to get along in a life that isn’t always kind. When Charley ignores Bonnie’s advice to not get too attached to the horses, he and the titular Pete are soon trudging across the backcountry.

Charley’s life on the streets provides many life lessons, but not much joy. He crosses paths with an initially friendly addict named Silver (Steve Zahn), and along the trip, his childhood memories provide some hope – especially as related to Aunt Margy (Alison Elliott). These all feel like real folks that we could meet at any time. Some are helpful, yet the biggest life lesson of all comes roaring through these mostly quiet scenes – people care most about themselves.

This most certainly isn’t a Disney-style horse movie like DREAMER, and in fact, it’s much less a horse story than it is Charley’s story. The core message seems to be that no matter how gentle one’s soul, human nature adapts in times of desperation. It’s pure cinematic pleasure to have both Mr. Buscemi and Ms. Sevigny in the same film, but the shining light here is Charlie Plummer. With little dialogue, he conveys so much about what he is thinking and feeling. His desire is to have some stability – someone or something that he can depend on. It’s the security many of us take for granted. Cinematographer Magnus Nordenhof Jonck (A WAR, 2015) beautifully captures the endless Pacific Northwest landscapes, while also managing the intimate and thoughtful moments. Mr. Haigh’s two most recent films add him to my must-see list … I just wish there were more who would find pleasure in his displays of lack of joy.

Greetings again from the darkness. The movie industry frequently sources societal worries, concerns, issues and hot topics. It’s been less than 6 months, but here come the anti-Trump movies. Of course some will have clever disguises for their message, while others will slap us across the face. This re-teaming of The Good Girldirector Miguel Arteta and writer Mike White actually uses both approaches.

Salma Hayek stars as Beatriz, a masseuse and holistic healer, who comes awfully close to being an angel on earth … unless she’s guzzled a bit too much white wine at your dinner party. Beatriz fights southern California traffic in her clunky VW as she rushes from her gig at the cancer center to Cathy’s (Connie Britton) Orange County cliffside mansion. See, Cathy is hosting a dinner party for her husband’s (David Warshofsky) business associates and she simply must have her massage prior to such a stressful event – after all, she did plan the menu. When Beatriz’s car stalls in Cathy’s driveway, she is invited to stay for the dinner party.

Things get awkward once the actual guests arrive. Alex (Jay Duplass) and his wife Shannon (Chloe Sevigny) are the young, entitled types so enticed by the fancy house and global traveling lifestyles on which they are on the brink. It should be noted that Mr. Duplass cleans up nicely and Ms. Sevigny spends much of the movie smiling – a look for which she’s not normally associated. The real squirming occurs once Doug Strutt (John Lithgow) and his shallow third wife Jenna (Amy Landecker, “Transparent”) arrive.

Beatriz and Strutt are polar opposites with contrasting lifestyles and character. She is a mystical presence with a deep connection to Mother Earth and all living beings. He is the Trump-like figure – charismatic, manipulating and laser-focused on the brass ring. She coddles her pet goat in her bedroom to protect it from a crazy neighbor, while he ignores the rare birds nesting on the valuable land he wants scraped for his newest development.

It’s by no means a superhero movie, but Beatriz is presented as a Mexican-born working class (minimal make-up, functional clothing and shoes) Wonder Woman, while Strutt is the ultra villain out to destroy the planet, one rhinoceros at a time. She views him as “The Source” of Earth’s pain, while he tries to laugh her off as a novelty act. It’s Cathy and her husband who are most taken aback by the direct words of Beatriz, as they have considered her a “family friend” since she helped their daughter through a health scare. How dare she spoil their dinner party!

There is a beautiful aerial shot of the Orange County mega-mansions, but most of the uncomfortable moments are derived through the ongoing duel of angelic Beatriz vs. the poisonous topics of politics and profit. There is no subtlety in the message, but having two talented actors go head to head, does make it more palatable.

Greetings again from the darkness. Jane Austen ROCKS! Sure, that might be a slightly exaggerated description of the writer who passed away almost two hundred years ago, and is known for such subtle and nuanced work as “Sense and Sensibility” and “Emma”. But it’s difficult to argue the fact that Ms. Austen’s 2016 is off to an impressive start. First came Burr Steers’ highly creative and entertaining Pride and Prejudice and Zombies, and now Whit Stillman delivers a cracking version of her (apparently) unfinished novella “Lady Susan”.

Thanks to the standout performance from Kate Beckinsale, and the manner in which words from Austen and Stillman go zipping by (sometimes honestly, sometimes not), this is one fun and briskly-paced romp … more descriptions not typically associated with the prim Ms. Austen. Ms. Beckinsale as Lady Susan Vernon flashes spunk and comedic timing that we have not previously seen from her. She fits marvelously in the dress of the late 1700’s, while packing a diabolical and manipulative nature more often displayed in contemporary settings.

The supporting cast seems to be having a marvelous time. Chloe Sevigny is Alicia, Lady Susan’s confidant and gossip buddy … and one whose husband (Stephen Fry) continually threatens to ship back to Connecticut (as if it were the coal mines or outback). Emma Greenwell is Catherine DeCourcy Vernon, adversary and sister-in-law to Lady Susan, and Mofryd Clark plays Frederica, Susan’s somewhat mousy and inconvenient daughter.

Though the women are standouts here, the men hold their own. Xavier Samuel is Reginald DeCourcy, the somewhat naïve and susceptible-to-advances-from-Susan young man, and Tom Bennett manages to steal most every scene as the quite silly and funny (and wealthy) Sir James Martin. Adding their own special touches are James Fleet and Jemma Redgrave as Sir Reginald DeCourcy and Lady DeCourcy, respectively; and Jenn Murray as Lord Manwaring … one of three suitors to Lady Susan.

This spoof/parody will strike a chord for anyone accustomed to the uptight nature of most period pieces, as well as the importance of status, decorum and the corresponding insecurities (a weakness the cunning Lady Susan will most certainly seize upon). Mr. Stillman (Damsels in Distress, The Last Days of Disco) is an immensely talented writer, and certainly a welcome complement Ms. Austen’s posthumously published work. It’s a deliciously funny and intricate story that features such quips of gold as “Facts are horrible things.” Welcome to the zany verbal barrages of Lady Susan, Whit Stillman and Jane Austen. Yep … zany and Jane Austen in the same sentence. I told you she ROCKS!

Greetings again from the darkness. You know how we always hear that there are no secrets in a small town – how everyone knows your business? This first feature film from writer/director Sara Colangelo exposes the fallacy of that notion. It seems all residents of this small mining community are carrying secrets, and some are whoppers!

The story picks up about a year after a horrible coal mining accident killed ten local miners. The lone survivor was Amos (Boyd Holbrook) who is struggling with physical limitations resulting from the incident. However, generating more pain for Amos than his withered arm and leg is the internal battle the ongoing investigation is causing him. Should he expose the known safety issues that caused his co-workers to die? If he does, those 10 families probably get justice and a financial reward, but the mine likely shuts down – crippling the local economy and throwing much of the town out of work. If keeps quiet, those families get nothing and it’s business as usual for everyone else.

Amos is joined in a daily conundrum of secrets by: Owen (Jacob Lofland), who is much too young to handle the situation an accident has placed him; Owen’s brother James (Beau Wright) who has Down Syndrome and is even less equipped to keep his secret; the mine’s supervisor Bill (Josh Lucas) who defends his poor decisions by saying he only did what the company forced him to do; and Diane (Elizabeth Banks) who is Bill’s wife and reacts to the disappearance of her son and lack of respect for her husband in a manner that can’t possibly end well.

As is common in poverty-stricken communities, there is even more to add. Owen’s father was one of the miners killed in the accident, and Owen was among the group who last saw Bill and Diane’s son alive. Also, Amos is living with his father who is paying the health price for a lifetime of coal mining. The film is bookended by Amos’ testimony regarding the accident, and in between we see these intertwined lives and much soul-suffering and personal stock-taking. It’s a reminder of how powerful grief can be, especially after such an instantaneous tragedy.

Boyd Holbrook and Jacob Lofland deliver outstanding performances. Mr. Holbrook’s career is in skyrocket mode as he appeared in 8 projects during 2013-14 (including Gone Girl, The Skeleton Twins), and has 5 more for 2015 (including Terrence Malick’s next film). Young Mr. Lofland was a standout in both Mud (2012) and his recent recurring role on TV’s “Justified“. Also of note is one of the few dramatic turns for Elizabeth Banks. We have come to expect comedy excellence from her (even as Effie in The Hunger Games), but we have rarely seen the emotional depth she portrays here.

The movie is beautifully shot by Rachel Morrison, and the film stock provides the grainy look that adds to the realistic feel necessary for us to be absorbed into this isolated world. Comparisons to other mining movies are expected, and North Country(2005) and Matewan (1987) come to mind, however, those were centered on mistreatment in the workplace and labor issues, respectively. This movie is much more concerned with grief, and for some reason The Stone Boy(1984) comes to mind. Dealing with tragedy does not become easier with age, financial status or social standing. Ms. Colangelo’s film provides an intimate look at this.